Aesthetics
Online ISSN : 2424-1164
Print ISSN : 0520-0962
ISSN-L : 0520-0962
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Volume 28, Issue 1
Displaying 1-16 of 16 articles from this issue
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  • [title in Japanese]
    Article type: Cover
    1977 Volume 28 Issue 1 Pages Cover1-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_Cover1
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Cover
    1977 Volume 28 Issue 1 Pages Cover2-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_Cover2
    JOURNAL FREE ACCESS
    Download PDF (16K)
  • [title in Japanese]
    Article type: Appendix
    1977 Volume 28 Issue 1 Pages App1-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_App1
    JOURNAL FREE ACCESS
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  • La philosophie de l'art chez Etienne Gilson
    Tsuneyuki KAMIKURA
    Article type: Article
    1977 Volume 28 Issue 1 Pages 1-11
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_1
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    Gilson definit les beaux-arts comme arts poietiques. Ceux-ci incluent l'ordre entier de la factivite qui se propose la production du beau. En cela cet ordre est distinct de celui de la connaissance et de l'activite. Il distingue la fonction poietique de l'entendement, de sa fonction noetique. En effet toute la contribution de l'entendement aux arts poietiques se trouve incluse dans la fonction poietique et integree a la fonction poietique. Cette definition de la poietique peut se considerer comme justifiee pour trois raisons. D'abord, elle ne se perd pas dans les apories des doctrines qui reduisent les arts a une espece de connaissance. Puis, elle empeche les arts comme la poietique d'envahir l'ordre de la connaissance. Enfin, elle pretend conduire la philosophie de l'art a la metaphysique chretienne, qui, d'apres lui, a decouvert l'acte d'etre a la fecondite auquel se rattache la notion des arts poietiques.
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  • Michelangelo's Bacchus
    Masahiko MORI
    Article type: Article
    1977 Volume 28 Issue 1 Pages 24-39
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_24
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    Bacchus (Florence, Bargello) is one of the main works executed by Michelangelo during his first stay in Rome. Though the work is originally made for Cardinal Riario, afterwards bought by Jacopo Galli, probably in the autumn of 1497. Based on his study of Michelangelo's works of sculpture, drawing and so on, the author analyses form and style of Bacchus, and concludes that Michelangelo made it as the mixed type of the ancient statues of Bacchus, Satyr and Hercules seen in Rome. It also shows the pseudo-classical trick as proved by Heemskerk sketch and pseudoclassical sensuality, common to the late Quattrocento works. And in it he skillfully uses form and style of his early works, such as Centauromachia, Hercules, St. Spirit Crucifix, Sleeping Cupid, etc. And it is definitely classical. Thus it becomes clear that Bacchus shows the important turning point in his early development of style, which is moreover observed by the development of his early drawing style. Bacchus is also interpreted in the light of neo-platonism. It shows clearly sensual ecstatic mysteries, which reminded Vasari of androgynous characters. According to the author's opinion, Bacchus represents a prisonner of sensuality, whose facial expression suggests that the evil ecstasy of Eros becomes a kind of brute, as many platonists say (Plato, Ficino, etc.). And 'animal skin' is interpreted as death, Satyr as sensual pleasure, Bacchus as brutal ecstasy which leads to death (Condivi). Then Bacchus can be understood as one of the earlier works of the neo-platonist, Michelangelo.
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  • Die kunsthistorische Stellung des Bildhauers Kokeis : Hauptsachlich uber seine Buddhastatuen im Nan-endo Bethauschen des Kofukuji-Tempels
    Shinji NISHIKAWA
    Article type: Article
    1977 Volume 28 Issue 1 Pages 51-60
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_51
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    Die Bildstatuen im Nan-endo, Amoghapasa und andere, sind 1188-9 hergestellt worden und gehoren zu den am fruhsten fertiggestellten im Rahmen der Wiederaufbauarbeiten der 1180 verbrannten Tempel, Todaiji und Kofukuji. Kokei, der diesen Aufbau ubernahm, liess den frischen Kamakura-Stil als erster in seinen Werken aufbluhen. Dieser Stil wurde von seinem Sohn Unkei und anderen Nachfolgern weiterentfaltet. Die Entstehung seines neuen Stils verdankt zwar dem vorangehenden Stil seiner Lehrmeister, die das Amt als "Daibusshi" (Meisterbuddhabildner) im Kofukuji-Tempel erblich bekleidet hatten, aber Kokei entwickelte daraus revolutionar einen schlichten und kraftigen Stil. Einer der Grunde, warum das ihm gelang, ist seine Bemuhung, nicht nur die realistische Tendenz des Originalstils sondern auch ihre freie "modelling" und Ausdruck aufrichtig zu erlernen, die bei den Trockenlack-oder Tonarbeiten characteristisch sind. Seine Haltung brachte grundliche Reflexion und Erneuerung zu der damaligen uberraffinierten Holzschnitzerei.
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  • [title in Japanese]
    Article type: Appendix
    1977 Volume 28 Issue 1 Pages 61-78
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_61
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  • [title in Japanese]
    Article type: Appendix
    1977 Volume 28 Issue 1 Pages 79-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_79_1
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  • [title in Japanese]
    Article type: Appendix
    1977 Volume 28 Issue 1 Pages 79-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_79_2
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  • [title in Japanese]
    Article type: Appendix
    1977 Volume 28 Issue 1 Pages 79-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_79_3
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Appendix
    1977 Volume 28 Issue 1 Pages 79-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_79_4
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  • [title in Japanese]
    Article type: Appendix
    1977 Volume 28 Issue 1 Pages 79-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_79_5
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  • [title in Japanese]
    Article type: Bibliography
    1977 Volume 28 Issue 1 Pages 80-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_80_1
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  • [title in Japanese]
    Article type: Bibliography
    1977 Volume 28 Issue 1 Pages 80-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_80_2
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Article type: Bibliography
    1977 Volume 28 Issue 1 Pages Misc1-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_Misc1
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  • [title in Japanese]
    Article type: Cover
    1977 Volume 28 Issue 1 Pages Cover3-
    Published: June 30, 1977
    Released on J-STAGE: May 22, 2017
    DOIhttps://doi.org/10.20631/bigaku.28.1_Cover3
    JOURNAL FREE ACCESS
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